http://icsn.co.uk/forums ICSN Forums en http://backend.userland.com/rss http://icsn.co.uk/forums/view_topic.php?pid=168#168 168@http://icsn.co.uk/forums Topic: Music improvisation tips for teachers and pupils Message: I feel one of the most important aspects in teaching improvisation is to create a situation where the pupil feels safe from negativity. They have to feel that errors are part of the learning process. This in turn, will build confidence and trust - the most important aspect in a teacher-pupil relationship. Also, the teacher must be able to demonstrate what the pupil is expected to do. If in the rare case, the pupil is outplaying/outperforming the teacher, the teacher must be honest enough to admit to the student that they cannot demonstrate what they teach - or if the teacher has a strong educational/intellectual background, such a teacher can still be effective in presenting concepts and ideas without actually being able to demonstrate them. It can be hard for a teacher to articulate (or a pupil, understand) a concept that seemingly comes from within, from 'feel'. Therefore, here are 3 tips for teachers and students to use in order to develop a good, structured learning process for improvising music:1. Teach the language - in musical terms, you have to learn the basic “words” and eventual “phrases” with which you will convey. It’s the same thing as when you learn a language different from your own. This includesTry using a game of call and response, or “I play, you play,” often with a backing track playing in the background. If you like jazz, for example, someone could play a few jazz licks. As you become familiar with what you’re hearing, you’ll be ready to begin. The other person plays a lick and then the student plays a lick. This continues until the phrases, or riffs, are internalised by the student. Then they reverse roles: the student plays a phrase, and the musician responds.For first timers, I will typically stay inside one key, either C or G, and move first from licks (if teaching guitar for example) to two measure phrases, then four measure phrases, and so on, using call and response. But I don’t spend much longer than 20 minutes of an hour-long lesson on improvisation techniques. For example, I might start talking about chords but then I guard against giving too much information all at once.2. Use scales - whatever the students experience, by the end of their first lesson, they would be able to improvise on a scale. I recommend choosing songs with chords in one key as they are great for call and response with melody. This way, the student experiences success while taking a small initial step toward learning how to improvise.3. Use rhythm - tapping the beat is important and also fun. Before you play your instrument, you need to be able to feel a pulse and nod your head/body to the rhythm.In any improvisation lesson, the teacher should set the rhythm on the two and four count beats and instruct the student to pick up their instrument, but NOT play it. Instead of playing, the student should learn to tap/clap on the two and the four counts. Then you can use some call and response and then it’s on to something a little more advanced like theteacher playing their instrument while the student improvises a rhythm.Once the pupil has fully understood  the rhythm, they can move on to phrases with the understanding that they’ll have to sit and listen for a specific rest period. It is important for the pupil to play a short phrase and then stop. So, for example, theteacher and pupil could do a one-beat/measure phrase, rest and then, if there is a two-beat/measure phrase, the pupil will rest for exactly that same length. This soon results in playing a simple three-note melody that is rhythmically-focused.For more information, visit www.grademusictutors.comor www.grademusictutors.blogspot.com Tue, 20 Jul 2010 10:46:18 +0200 http://icsn.co.uk/forums/view_topic.php?pid=167#167 167@http://icsn.co.uk/forums Topic: MUSIC BUSINESS FAME & OPPORTUNITY TIPS - HOW TO GET STARTED Message: This is not a precise "how to get into the music industry" manual. Anyone who knows anything about the music business knows the difficulties when trying to 'make it big' and the pitfalls if you are lucky enough to get there.What this article does it give pointers as to starting out and maintaining some momentum when the inevitable setbacks occur.Fame in the music business is a topic that gets enough coverage due to the plethora of fame-based TV shows (especially reality TV lately) and the eternal allure of the music industry in general. It is probably the single most attractive dream career for most people. But (predictable) there is a problem. It is HARD. Often it seems near-impossible to get a look-in fame wise and almost as difficult just to get any job music-related because of the avalanche of competition that is the demand for those jobs versus supply.I write this article since I often get asked about opportunities for playing in bands, performing at theatres/with orchestras or just getting a job in the sector. The underlying principle I find behind all this is simple - the COMMITMENT and DETERMINATION (in that order) of the individual to succeed. This will do more for somebody trying to get into thebusiness than talent or luck alone. Why? Because: A – there as many people realise, there are many talented people out there wanting to work in the music industry and: B – luck is unrealiable, something one hopes and waits for.Commitment on the other hand means you do whatever it takes, no matter what. If for example you are a pianist and you know you need to practice every day, even if you have no upcoming audition or concert then do you practice, no excuses. Determination, if it were just the sole attribute you had, would mean you’re willing to persist but that you let yourself ‘off the hook’ when it comes to the importance of everyday practice. You might rationalise why today is not such a good day to practice and then focus on other things, whilst still telling yourself how determined you are to succeed. I say this because when I was younger, I wanted to get a job at a well-known record company (who didn’t?) as a producer/songwriter and was determined as possible to succeed. I read books on fame, composition, music theory made a mixtape AND CD along with a CV which I sent off to them. None this worked. I was determined, but crucially, was not committed long-term, tolearning everything I knew about music production, songwriting and making connections in the industry. I thought all that, especially networking, was too much hard work just to get a job, and being a graduate at the time, rationalised why I had to focus my energies elsewhere. Therefore that early determination I had tailed off along with any commitment I might have made toget a job at a record company.When you combine commitment and determination with talent however, then you have something potent that will drive you. Now let’s look at the ways in which you can help your chances of working in the musicbusiness:   1. Know what you want and be passionate about it. This obvious point would scarcely need including if it weren't for the number of people I encounter who tell me they want to be a "multiplatinum selling producer", singer, dj or whatever. Each time I hear this ask the person "and do you have a great interest in this area or know anything about it? Their answers always surprise me, ranging from "er, not really" to "I though about it and the money would be so cool!" It's enough to say, don't fall into this type of thinking. Love what you do and everything else will follow. This is the fundamental truth about success in all areas of life.   2. Get noticed. By this, I mean start playing/performing your work in front of others, even if it’s to the cat. Play in front of the family/friends and ask for feedback. Do the same outside. Seek any avenue, any venue and get playing! Many famous musicians started by simply playing wherever anyone would listen and so this is a reliable path to go down. Exposure to these situations will get you used to performing in front of an audience and will quickly tell you whether you have it in you to become an entertainer, for that is the difference between being just a musician who performs in front of others and someone who can captivate and ‘wow’ the audience. A few ways you can get started on this are:    * -          Organising your own concerts/gigs    * -          Offering to play for others at events/functions/auditions    * -          Helping out with your local school or church’s music activities    * -          Open mic sessions at pubs/bars and other venues    * -          Busking   2. Learn everything there is to know about your instrument/speciality. I mentioned earlier about wanting to work at a record company as a music producer and songwriter. The things I did do (for a while at least), is: study music theory and sound recording read about songwriting sound recording, production, composition and Buy some music production equipment (keyboard, sound modules, samplers, synthesisers, drum machines etc) and read their manuals as well as go onto any website forums, asking technical questions on areas I did not understand.   3. Meet up with friends and others who are already doing what you want to do. I knew a guy from church who had a career as a session musician, touring with some big names and who also was able to use sound recording equipment as he also produced jingles and other music for different clients. I arranged to meet him one evening at his place and learn everything I needed to. I actually went to his place before to get my mixtape (which I planned to send to the record company) critiqued but on this particular night, I wanted to learn about production. From that night, I learned more from jut sitting and observing him in action with all his equipment than I could have learned from all the book reading.    4. Learn to market yourself and network. You are the only one that’s going make this work so it pays to find every channel to promote yourself and form connections. Even if you’re still at school, you can join a music group/band or simply get together with someone you know who plays in a band and either form something together or pick their brain regarding what they are doing to get noticed. Find the most successful people and learn how to get connected in the industry based on their past experience. Also, you must be able to use marketing channels whether they are simple flyers, noticeboards at schools/shops, cards in newsagents, to internet marketing using social media like Youtube, facebook, Myspace and Twitter. Another area that isn’t used much, but which can prove useful is print media, in particular, newspapers. I mention this because I have experience in this area. Years ago, when I was 14, my parents rang the local paper in North London suggesting a story in one of their ‘talented individuals’ feature. The story was that I was one of the youngest people to take and pass my grade 8 in piano exam, competed in local music competitions and gone on to perform in public with more accomplished musicians at nearby venues, one being Millfield House in North London. To my (and secretly, my parent’s) surprise, the paper were interested and sent round a reporter and his photographer to interview me (or so I thought) . After the Easter holiday, when I returned to school, my picture and the story was plastered on the walls near the door of my classroom and I got a real teasing from friends as there were quotes in the feature which I clearly hadn't said and which sounded out of character e,g, "I don't like football much but prefer to spend all my spare time playing piano for relaxation!")Lastly, commit to excellence. This is the only standard that will do. Passion, determination, knowledge are fine, but unless you determine that you want to be the very best at whatever you do, you'll have little to no chance of catching an A&R /agent/promoter's attention or simply getting that top job at whichever company you've dreamed about. The competion will just be too fierce. Don't do what many on reality TV shows do and quit the job, just keep working diligently on perfecting your talents and making yourself invaluable for whoever you wish to work for. Good luck.For more information, visit www.grademusictutors.comor www.grademusictutors.blogspot.com Tue, 20 Jul 2010 10:35:01 +0200 http://icsn.co.uk/forums/view_topic.php?pid=166#166 166@http://icsn.co.uk/forums Topic: Tips for dealing with music performance nerves - part 2 Message: Here's the second part on how to handle performance anxietySingle out one area of your playing that is the top priority among things to remember.Think about this not when you are performing, but before you go on stage. Some people, for instance, may wish to focus on posture. Some might need to play with less pressure, while others may need a reminder to play more boldly. The issues to consider will all be specific to the individual and they may change over time, depending on what is top priority at the moment. When highlighting areas to improve, be careful not to overload yourself with more work and thus mores pressure.Enjoy performingYes, easier said than done I know for some, but don't forget that your performance is the time when you can finally share with your listeners what you have worked so hard in the practice room to achieve. This is a time of celebrating yourself and not a time for correcting errors or other faults. It's not unreasonable to suggest some musicians are too self-critical in performance. Well the practice room is the place for that. The concert hall however is the place for celebrating yourself and the music. Let your emotions for the music be present. Don't allow minor details to obscure your feelings about the music. Let your excitement for the music be present. Let the adrenaline and your passion for the music come through. Video/Audio TapeNow comes the RIGHT time to be critical but in a positive, constructive way.Video- or audiotape practice sessions, reviewing the tape, critiquing the performance. This is  where, you want to be looking at everything, from mannerisms, how you smile and other body language, role-playing how to acknowledge the audience to imagining them there in front of you as you start playing your instrument while being recorded. It is important to develop a strong vision of yourself already in the environment.While viewing the videotape, you could also identify places in the music where tension is present. To help the feeling of being threatened by the critique, listen or view the tape as an outsider observing a colleague's performance. Learn from the expertsOne of the best ways to solidify your performance is to watch famous musicians that you like/admire. See if there are any positive traits that you could model and incorporate into your own performance. Also, by reading about them, their biographies, the sacrifices they made and their approach to preparation for a performance and the actual performance itself, you can get an insight into their mindset and even adopt that as your own if you feel it best serves your purposes. There have been many great performers who were in the same position as you when they were starting out in their career, feeling like they were ready to throw up before their first major concert! Yet, the reason they have achieved greatness has been (amongst other things) because they did not let the fear overwhelm them. They recognised they had a duty to engage and entertain the audience and that if the audience were enjoying themselves it was because the performer was also enjoying his /herself too. Set goals but have realistic expectationsWhen setting a goal, make sure it is SMART. This stands for: Specific, Measurable, Accountable, Realistic and Time-based. Be certain to set realistic expectations when choosing appropriate repertoire. The music selected should be well within your capability. You also need to consider the time frame when choosing the music, allowing ample time for you to learn and internalize the work.Attend performance rehearsalsParticipate in performance rehearsals during the weeks prior to a performance. If possible, hold a rehearsal in the actual venue. This would be especially helpful for pianists, allowing them to become familiar with the instrument as well as the venue acoustics. Get in as many rehearsals prior to a performance in order for you to feel more secure with the music, as well as identify any weak spots that you feel may need work.Perform oftenYou'll hear it said often, there's no substitute for real-life experience. Of course, performing frequently may not always be possible. While there will always be varying degrees of anxiety when one is exposed to comfort-level pushing situations, such experiences also increase the musician's confidence level, and the performer is able to gain self-awareness and knowledge within the performance venue. One primarily learns by immersion and it is only by immersing yourself in performing as much as possible that you become desensitized to the whole situation.Attend to Non-Musical Matters in AdvanceIf you are responsible for the programs, be certain they are printed correctly, proofread and assembled and know who will distribute them. Think about what you will wear for your performance. For females, it always is a good idea to practice in the shoes you will wear for the concert, especially if the shoes are new and being worn for the first time. If you intend to make a speech or introduce the pieces, rehearse these especially in front of others. Focus on your tone of voice, speed, volume (so you can be heard throughout the venue) and your facial expressions. If a page-turner is needed, make the arrangements prior to the performance and rehearse the page turns also. Dealing with these matters will help reduce any last-minute panic on the day.Focus on the PresentAbsorb yourself in the now. Rid your mind of thoughts about things which annoyed/worried you earlier. Also, avoid self-sabotaging thoughts such as focusing on an upcoming difficult passage, a slip that just occurred, an impending disaster or any other irrelevant thought. Having a focused state of mind with total absorption in an activity is sometimes referred to as being in a state of "flow."Avoid Inner DialogueAvoid inner dialogue while performing. Such internal chatter can only leave the you feeling distracted and flustered. If a performer becomes engaged in an inner dialogue during performance, this is the time to return his focus to the music. Asking yourself: "where is this going?/what am I doing?/where is this leading me?" etc brings your mind back to what's important. Questions direct focus.Master your stateJust as important as what to focus your mind on is mastering your state. It has sometimes been said that motion creates emotion. This is true to an extent. Although it may sound simplistic, the way you carry yourself from when and how you address the audience, your facial expressions and other body language to how you sit at/hold your instrument, can affect your mindset. Imagine if you were nervous or apprehensive? What would your body language be? Looking down at the floor? Shallow breathing? Serious expression. Walking slightly slouched, in a shuffling manner? The point is that you mind rationalizes that: "this is what my body does when I'm happy/sad/confident/nervous etc, therefore if I'm this state, then I must be that mood!" So change it for the better.I hope these tips have been of use. Apply them, go out and have your best performance ever!For more information, visit www.grademusictutors.comor www.grademusictutors.blogspot.com Wed, 23 Jun 2010 14:23:47 +0200 http://icsn.co.uk/forums/view_topic.php?pid=165#165 165@http://icsn.co.uk/forums Topic: How to get started in singing confidently and enjoy songs Message: The benefits of singing are undoubted. Singing allows the true you to come out, it allows a freedom of expression, rarely seen in other acts. It is also character building since, for many people, singing in front of others, especially in public, is nerve wracking.In the last few years, we’ve been bombarded with reality TV contests and with those, based on music, the underlying requirement has been for the performers to sing. As I mentioned earlier, singing allows for freedom of expression, and those of a good standard (among many average ones), combine the ability to perform and sing, by putting their emotions into the song, this being reflected in their entire body language.One thing I have found, at least with the pupils I taught, is that they all had a favourite song, which they were unafraid to sing in front of me. I asked them to sing because I was interested to see their range of emotions and expressions in the process. I always found, they would come to life, even if they didn’t know the entire words to the song, nor were able to sing in perfect time or melody. This told me something which might seem obvious to some, but was interesting nevertheless: If you can sing your favourite tune freely whether in the company of others or alone, then YOU CAN SING. Of course, things might be more difficult if you’re unaware of tone (known as tone-deafness), but even then, being able to sing a song that resembles what you’ve heard is a sign of a basic ability to replicate something of what you have heard. The key then is: how do I get good/at least more confident in singing if I never felt I was great at it?Simple suggestions might help. I have tried some of the following with my pupils:-     Start by listening to your favourite tune and see if you can feel the beat or nod your head to it.       If you can, then you’ve already got an (aural-based) understanding of rhythm and rhythm is the framework, the ‘skeleton’ which holds up a piece of music, especially a song -     Buy aural listening tapes/cds.       These come in basic levels . The best way to get the most out of them is to set aside some time to have someone (who should preferably be musical in some capacity) play back the sections that require you to sing back what you’ve heard. Each time you play the section being sung, get the other person to critique (in the most encouraging way) what could be improved and then try again. -     Put yourself in situations that are uncomfortable for you.       This is the big one. If you have a lack of confidence about singing, find a way to gently ease you into a situation that pushes your comfort zone. Without doing this, you’re not facing your challenges head-on and it’s only by confronting those doubts/fears that you learn more about yourself and what you are capable of. You can make it as simple as deciding to sing in front of the family one evening/weekend. Record yourself, singing your favourite songs. This will psychologically 'put you on the spot' even if you're alone. This is because you want to do your best and be pleased with what you hear if you choose to play back you recording. -      Find others in the same position as you.        If you really want to enjoy singing, search out others who are in a similar situation to you and take the initiative to either go with them to anywhere that’s an outlet for singing. It could be the choir, a band, even just going karaoke one night. Doing this also puts you into an unfamiliar situation where again, you’re leaning into your comfort zone and learning at the same time. The best (but boldest) idea is to start a local singing group where you and others, together with a musician you know, learn to sing and then perform your favourite songs. Again, search out local musicians, speak to friends, neighbours, even the local school music teacher and get their input into who might be interested in your idea. Put notices up wherever you can and make sure the people who do respond, have the same desire as you to improve and enjoy their singing.There’s a camaraderie and encouragement when everyone’s ‘in this together’, sharing a common goal..What ever you choose to do, just remember that the real victory is in taking action against what you feared and the person you become in the process, rather than the achievement of singing beautifully or the improvement in your singing. EnjoyFor more information, visit www.grademusictutors.comor www.grademusictutors.blogspot.com Thu, 17 Jun 2010 23:12:59 +0200 http://icsn.co.uk/forums/view_topic.php?pid=164#164 164@http://icsn.co.uk/forums Topic: Tips for dealing with music performance nerves - part 1 Message: The heart races faster, the hands shake.  Many people experience anxiety when they become the centre of attention. Many musicians are not able to perform their best as a result of an increased anxiety level. While some believe it is important to experience some performance anxiety to play their best, anxiety should not overwhelm the performer. The effects of excessive nerves may appear when a gap exists between what has occurred in practice and the actual performance. When anxiety prevents an individual from performing at their best, not only is the performer affected, but the musical experience of other instrumentalists and/or the listener also may be affected.It is important for performers to seek methods to deal with the feelings accompanying fear and nerves. The following are several simple methods to alleviate mild nervousness.   1. Before performing, you must first remember that you have practiced to the best of your ability and remind yourself of this. You have used your practicing skills in the most effective way you know. Of course, there will always be things you look to improve in your playing, but given all the circumstances that have led to this moment, you have worked hard as you can. Now the practicing is over. Rather, you are going to use your "hook point" (what?), something you would have encountered during practice sessions. The hook point (hp) is at work, for example, when you learn the fingering for a piece. When you repeat and reinforce the new patterns, the hp is the moment wheere your brain starts to recognise the pattern and become familiar with what your fingers are doing, usually after many repetitions.  The information from this process is retained,      so that when you go on to practice other areas like articulation/dynamics, you don't have to think too hard about the fingering.The most comforting aspect of the hp is that when it is time for you to perform, what you do is recall what/where was the hp, or areas you played easily during practice. Usually, once your ear recognises a passage you've practiced many times over, your brain will trigger the familiarity that the fingers developed in practice.  2. Do not draw conclusions about what just happened or what might/might not happen. Self-criticism while performing is pointless because it takes you out of the here and now and destroys your focus and physical actions.      Whatever the criticism, it introduces a verbal aspect into an activity that is most successful when it is non-verbal. Reserve judgment for after the performance, preferably after you have listened to other people'sreactions.  Rather than judge your playing, simply observe it without saying anything, and play from the heart. For example, when you are about to make a crescendo, go for it and then feel it as you are doing it. There is nothing verbal about this process. You are, rather, putting intention into action - that is, motivating.   3. Do not second-guess the audiences reaction to your playing. When performing we become mind readers and believe we know exactly what the responses to our playing are. More often than not, these thoughts prove to be completely, wildly inaccurate and only serve to further distract us from our aim. An example: I was once playing a recital, with only twenty people in the audience. As soon as I came out to perform, I noticed a guy who looked familiar, but whom I could not quite place where I had seen him before. For most of the first piece, I was only partially thinking about the music, the other part, wondering who he was and (even worse) what he thought about the playing (crazy I know).      Finally I remembered that he was a respected piano teacher and accompanist I once met at a music shop near where I live. He was undoubtedly going to listen to the music on my program with an keen attention to detail and pick holes at the whole performance. Throughout the entire time, I was preoccupied with these thoughts and not surprisingly, the whole experience became gradually unformfortable for me. Afterward, when he came to speak to me, I discovered that this piano teacher was, in fact, a jazz and pop specialist rather than a connoisseur of classical music and was very complimentary of my performance. Later I thought, "what an incredible waste of mental energy!" How remarkable it is that the vast resources of one's imagination can be used for such futile, self-destructive mind-games! You probably have had similar experiences.      Trying to imagine what the audience thinks of your playing is useless and distracting. You must please yourself first or only.That's it for part 1. In part 2, I'll go through a few more rules about dealing with anxiety plus some other tips, to bring out the showman in you.For more information, visit www.grademusictutors.comor www.grademusictutors.blogspot.com Wed, 16 Jun 2010 15:04:47 +0200 http://icsn.co.uk/forums/view_topic.php?pid=162#162 162@http://icsn.co.uk/forums Topic: Beginners piano tips – part 2 Message: Tip 1 – Set a goalHave a goal every time you sit down to practice playing scales and arpeggios over and over ‘will not’ improve your playing. A goal would be to master a chosen piece within a certain amount of time by practicing it for 15 minutes EVERY DAY. Then when it has been perfected, transposing it into another key.Tip 2 – Accompany a friendTry to accompany a friend or play in a band. Playing with other people is THE BEST WAY to improve your rhythm. You have to really concentrate very hard to stay in time and this action alone will improve your rhythm, sight reading and musical ear like no other. It is also a lot of fun and breaks down the boredom of practicing alone.Tip 3 – Learn How To Play Chords FirstIf you can learn the basic chords first before tackling classical pieces, you will be a long way ahead. Most popular music is based around simple chords and if you can master these, you will be able to play a lot of famous tunes and have great fun doing this.The classical approach can limit you early on and I find that it discourages most beginners from continuing past their first year. If they were to learn the chord system first and then progress on to classical pieces, I am absolutely certain there would be far fewer students that give up.Tip 4 – The Right Mental ApproachGetting your mindset right is probably THE MOST IMPORTANT thing to do. Practicing because you have to and just going through the motions will not get you anywhere. This approach nearly always leads to boredom and eventually giving up.The way to improve rapidly is to concentrate completely for every minute you set aside for practice and focus on improving one thing. This could be part of a piece, a new chord, a scale or anything you choose.Seeing this progress gives you a sense of achievement and will keep you going through the session and the next.Tip 5 – Make Sure Your Mind Is ClearIf you have had a bad day, received some bad news, been in an argument etc. then you should not practice. You must get yourself in the right frame of mind in able to make the most out of your practice session.Try going for a walk over the park – get some fresh air. Read a book, watch some TV – whatever it takes to get you in the right mood ready to practice and make some improvements to your playing.If you still can’t get yourself in the right mood then skip today’s session and come back tomorrow focused.Tip 6 – VisualiseMany top sports coaches teach the skill of visualisation. Athletes are taught to see themselves running and winning an event. They see themselves from the starting gun step-by-step all the way to the finish line, breaking the tape, arms in the air and the crowd applauding their victory.When the race ‘for real’ comes around, they are mentally prepared and more likely to run to the best of their ability.It is no different to playing the piano…Try visualising yourself playing a piece of music that you have been practicing recently or are about to perform.Picture the piece of music in your mind, the fingering for each note, your fingers pressing down the piano keys, the hand positions and chord shapes. Try to hear the piece.You will be amazed at how quickly your playing improves when you can visualise a piece in as much detail as this.For more information, visit www.grademusictutors.comor www.grademusictutors.blogspot.com Mon, 12 Apr 2010 14:26:22 +0200 http://icsn.co.uk/forums/view_topic.php?pid=161#161 161@http://icsn.co.uk/forums Topic: Piano tuning - how to find the right Piano tuner Message: Other than trawling through the Yellow pages or the internet, finding a tuner near you, can be time consuming. Other than friends, contact the nearest institutions to you that own pianos and ask them who takes care of their instruments. Get recommendations from the following:•    Universities and music schools/academies•    Dealers that sell top quality pianos up to concert range. Ask for the concert piano tuner – their top technician.•    Local churches that have a vibrant music program. Just a few minutes talking with the music director/organist should give an idea of how they look after the piano.If you've got a local orchestra call them and find out who they use. Or call your nearest college/school and see who tunes all their pianos. •    People who've actually had good experiences with tuners. In particular, a personal recommendation from a skilled pianist that owns a fine piano is a great help.•    Your local music shop. Give them a call or visit them to ask them if they can recommend a good piano tuner. They may have someone they regularly recommend or have business cards of various tuners. •    the piano teacher of your friends or those you know learning the piano•    If you purchased your piano second-hand, ask the person you bought from who had been tuning the piano.•    Piano associations. Call and ask if your tuner is a member or alternatively, get names of members there. To become a part of an association/guild, a technician or tuner must pass a series of thorough examinations. If they need help passing these tests, they must take classes until the knowledge is obtained to pass. Therefore, you can be sure that a member of this association/guild has sufficient knowledge to get the job done properly.Visit the websites of the piano tuners you are interested in using. The sites may give you information on how long an individual tuner has been in business and his credentials. If the tuner does not have a website, call and ask these questions.When you get in touch with a tuner, ask them for references of previous customers or check for this information on the website. If some of the tuner's customers are churches or schools, you can call for a reference. Remember a high price doesn't always mean high quality. Evaluate piano tuners to get the best tuner for the best price and don't forget that just because a tuner is expensive it doesn't make them a good or qualified technician.When you call to schedule a potential appointment, get them to spend a few moments telling a little about themselves regarding their experience and training. During this portion of the conversation try to get a feel for the way they feel about their job, their philosophy on customer service, etc.Find a tuner who cares as much about your piano as you do and loves the instrument either playing or listening. Disregard "talk" and look for demonstration. Do they not just tune a piano, but do they know the piano as an instrument like "the back of their hand", to the point they can competently do major and minor repairs. Ask some "basic" piano questions, knowing the answer and evaluate their response.Ultimately, you might need to give a tuner a paid "trial" run. If you don’t like what he or she does, move on in your search. Finally, tune the piano regularly to keep up the pitch.For more information, visit www.grademusictutors.comor www.grademusictutors.blogspot.com Mon, 12 Apr 2010 12:38:57 +0200 http://icsn.co.uk/forums/view_topic.php?pid=160#160 160@http://icsn.co.uk/forums Topic: Tips for performing well in music exams Message: 1. Keep fit!In the run-up to a performance, eating and resting properly are essential. If a performer is tired and run down they will start to doubt their abilities, and this leads to increased nervousness before and during the performance.2. Failing to prepare is preparing to failAll performers should know the venue location and what they are playing well in advance of a performance. Ideally try to have a dress rehearsal. This is not always possible, so we recommend that performers prepare themselves in plenty of time for their performance in order to stay calm and control their nerves on the night.3. Visualise successThis is something that top athletes do before taking part in competitions and is a powerful way to focus the mind! Before starting their daily practice, you could spend a couple of minutes visualising yourself giving a confident and successful performance – emotions that you can then replicate on the stage or during an exam.4. Practise performing in front of friends and familyPlaying in front of an audience is a very different experience to practising in private. Once you're comfortable with your repertoire, ask family or friends to listen. Even a small and supportive audience is enough to make most people feel a little on edge, and is good preparation for the real thing.5. Controlled breathingA common symptom of nervousness is a quickening of the breathing. One of the best ways to calm down is to get control of your breathing. Why not try practising some breathing exercises; breathing in through the nose gently to the count of five and then breathing out through the mouth? Focus on counting your breaths and continue doing this until you feel calm and in control.6. SmileWhen you walk into the exam room or onto the stage, smile at the audience. This may sound easier said than done, but you’ll be amazed at how much better this can make you feel. The act of smiling, even if you don’t really feel like it, encourages the release of endorphins (the body’s feel-good chemicals). These endorphins improve your state of mind and help you to relax.7. Concentrate on the musicMake sure you don’t forget why you started playing or singing in the first place! Before a performance, remind yourself that you are about to share pieces that you (hopefully!) enjoyed learning and playing, and focus on communicating this enjoyment to the audience.8. Don’t worry about mistakesEveryone, but everyone, makes mistakes. They are a normal part of live performance and nobody really minds hearing the odd slip in a concert – especially if it is played with flair! It is much more important to enjoy the performance and make it involving and exciting, than it is to get hung up on trying to be perfect.For more information, visit www.grademusictutors.comor www.grademusictutors.blogspot.com Fri, 02 Apr 2010 15:39:33 +0200 http://icsn.co.uk/forums/view_topic.php?pid=159#159 159@http://icsn.co.uk/forums Topic: General hand technique game Message: Since I was young, I always wanted to make my fingers 4 and 5 as strong as fingers 1, 2 and 3. I thought if I went hard on these fingers, they would come up to speed with the others so I would do lots of exercises on 4 and 5, almost to the point of straining them. It was even said that the composer Robert Schumann devised a scales-like machine from which on one side was a weight and on the other, (hung from a lever) 2 small ‘slings’ designed to hold the fingers in question and work them each time they played a note. In my case, unfortunately, I was wrong and soon realised what many beginners do – that 4 and 5 will never be as strong as the rest.However, there are other ways to improve your technique. Here’s one:Balance a pen (pencil is even better later on as it is smoother and cylindrical) on the back of your hand. Start by playing: C, D, E, F, G, F, E, D, C up to 5 times, getting louder each time to repeat the sequence. The aim should be to keep the pen from falling off the back of your hand as you play louder, keeping your hand still, while increasing the finger movement due to greater force on the keys. Use these rules to make it more interesting:   1. Once the pen/pencil falls off, you have to start over from the beginning   2. You cannot speed up to get to your goal   3. You must get louder each time, thus risking more finger (and hand) movement and the chance of the pen falling offHave fun with this and let me know how long you can do it for.For more information, visit www.grademusictutors.comor www.grademusictutors.blogspot.com Mon, 22 Mar 2010 18:19:58 +0100 http://icsn.co.uk/forums/view_topic.php?pid=158#158 158@http://icsn.co.uk/forums Topic: Piano practice tips to help you overcome the 2 major challenges Message: The major problem most people face when learning the piano is their own impatience – the desire for instant results has never been greater, yet it requires one to know exactly what they want and then a have strong determination to make plans to achieve their goal.Too often I meet people who would like to play a piece from their favourite composer/songwriter/pop artist who think that they can get away with doing the bare minimum and still expect good results. Life as we know, doesn’t work like that. Ultimately, you can never be really good and excel at something you haven’t worked at consistently. And the key word here is WORK.The process of going through the passages in a piece of music many times over, the recognition of mistakes, the repetition of it all until it becomes second nature – all this is effort and concentration-based. It would be easy for any teacher of any skill to sugar-coat the truth and tell students/pupils that achievement of that skill is quick and easy. It would certainly be more attractive and get more clients too! However, it is always best to recognise from the start that there’s no such reality as ‘something for nothing’ as long as you realise this truth, know what you want, are passionate about it and then make a determined effort to overcome any obstacles in your learning, you will see positive results.Here are two common problems people face in practicing and some tips to keep you motivated and focused:Procrastination: Yes, the problem is even before we set fingers on the keys! Most of us have at some point felt like putting off that task for yet another time even though we know in the back of our minds, it is important and must be done, sooner or later. In the case of piano practice, here is a tip to help you break down that psychological barrier: break it down. Aim to focus for just FIVE minutes on whatever you have on your agenda to work on. Focus intently doing as much as you can. You’ll soon find 5 minutes passing by quickly and you becoming immersed in whatever you are learning.Impatience: this is really the core of it. Getting to the piano and starting practice is one thing, but the ability to maintain a positive outlook when things repeatedly go wrong (as they sometimes do) is crucial. You must develop a focus by taking each practice section and asking yourself OUT LOUD what is was that went wrong. The reason for this is that hearing yourself comment on what you’re working on, concentrates the mind, more than thinking inside your head. It directs your focus if you need to make notes and corrections.The other method is writing things down. Physical act of writing what you’re learning will help you retain the information. Too often, I’ve met people who’ve told me they ‘went at a piece many times and didn’t get anywhere’. The reason for this is what I call ‘unfocused repetition’. Doing the same thing over and over again and expecting a different result, is (according to Einstein) ‘insanity’. In the case of piano practice, repeating a passage many times over and yet making the same mistake each time, only leads you to a) form the mistake as a habit and b) frustration. So make sure you are taking short pauses now and then to make slight corrections, notes and other insights when repeating a section of music many times – it’s the quality and quantity that counts.Send me your feedback regarding how you’re getting along and I will try my best to answer.For more information, visit www.grademusictutors.comor www.grademusictutors.blogspot.com Mon, 22 Mar 2010 18:18:01 +0100 http://icsn.co.uk/forums/view_topic.php?pid=157#157 157@http://icsn.co.uk/forums Topic: Learning piano chords - a practical introduction Message: For this post, it would be useful to print it off or copy and paste into a document like Microsoft Word before printing. The following in paper format will make more sense to you as you're sat at the piano/keyboard, rather than a computer screen. This post also assumes you have some basic knowledge of notes and scales.Piano chords, or any chord for that matter, are formed by combining two or more scale tones (notes). You now know the tones (notes) that comprise all 12 major scales and you can play these scales smoothly (not necessarily quickly…yet!). It is now time to apply this knowledge and begin combining the scale tones to form chords. You may also see this referred to as combining two or more intervals (remember the definition from your study of major scales). We will begin our study with the simplest and most common type of piano chords, the triad.As the name implies a triad is composed of 3 notes from the major scale. We shall begin with the major triad. A major triad consists of the 1st, 3rd, and 5th tones (notes) of a major scale. You will also see this referred to as the root (1st), major third (3rd), and perfect fifth (5th). So, based upon this C major chords would consist of the notes C, E, and G of the C major scale. The symbols for a major triad are Major, M, or Maj. Whenever you see these names or symbols following a piano note (C, D, Eb, F#, etc.) you know it is referring to major triad chords. Or if you are just given the note (C, D, etc.) it is inferred to be a major triad.Now, when you practice these major chords, I recommend you form them using the 1st, 3rd, and 5th fingers of your right hand. Thumb (1st), middle finger (3rd), and pinky (5th). Your left hand will form these chords using the 1st, 3rd, and 5th fingers also, but the numbering is pinky (1st) middle finger (3rd) and thumb (5th).~ Piano Chords-Minor Triads~You now know that combining the 1st, 3rd, and 5th notes of a major scale form major triad piano chords. If you lower the 3rd tone one half step it becomes a minor triad. So, minor triad chords are the 1st, b3rd, and 5th tones (notes) of a major scale. The b3rd is the symbol for "flattened 3rd". As stated this means the 3rd tone (note) of the major scale is lowered one halfstep. You will also see this referred to as root (1st), minor third (b3rd), and perfect fifth (5th).So, based upon this a C minor chord would consist of the notes C, Eb, and G. The symbols for a minor triad are minor, m, min. or -. Whenever you see these names or symbols following a piano note (C, D, Eb, F#, etc.) you know it is referring to minor triad chords.As with the major chords, you can go to Chordhouse.com piano chord finder and check out some minor piano chords. All you have to do is select the chord name (C, Eb, F, Ab, F#, etc.) and then select "minor". The chord will be highlighted for you on our "virtual piano keyboard". This will open up a new window so when you are done simply close that page and you will be back here. Go now and view some minor chords then come on back.Now, when you practice these minor chords, I want you to form them using the 1st, 3rd, and 5th fingers of your right hand. Thumb (1st), middle finger (3rd), and pinky (5th). Your left hand will form these chords using the 1st, 3rd, and 5th fingers also, but the numbering is pinky (1st) middle finger (3rd) and thumb (5th).For more information, visit www.grademusictutors.comor www.grademusictutors.blogspot.com Mon, 22 Mar 2010 18:12:41 +0100 http://icsn.co.uk/forums/view_topic.php?pid=156#156 156@http://icsn.co.uk/forums Topic: Piano buying tips: How to select and buy the right piano to play on Message: A pile of price lists, brochures, conflicting reviews and advice from someone who bought their piano 10 years ago, just doesn't help in finding today's best piano for you.Some advice you may receive could be based on a one-off experience with only one piano from a manufacturer's entire range, and it may not necessarily have been a new and current model either. Comments praising the most expensive of pianos as a 'dream' instrument may not be based on any experience with such a piano at all, but due to the fact that the piano is simply of such a high price. In today's market, the highest price is no guarantee of the highest quality.Whether you are looking to satisfy a small budget or in search for a concert instrument, the key factors in ascertaining a 'Best Buy' are:Component Quality: Action, Hammers, Soundboard, Strings, FrameThese parts dictate the quality of touch and tone, and tuning stability. The mechanical longevity from a quality action and sustained tonal longevity from quality hammers, are invaluable. Quality soundboards deliver superior tonal resonance and dynamic range. Poor quality strings will restrict the pronunciation and tone, and particularly in the bass (copper wound steel) creating false beats and loss of clarity. The best frames are made in a vacuum to eliminate imperfections and weak spots from any tiny pockets of air. On older pianos, even the most prestigious, iron frames can develop hairline cracks after re-stringing. Tuning stability from a quality frame and advanced scaling, play a substantial role in the performance and life of the instrument.Build Quality: Cabinetry, Structural Reinforcements, AssemblyGood components can be almost useless in a poorly assembled instrument. Structural reinforcements, such as backposts can improve the tuning stability and can also improve resonance. The quality of the cabinetry is very important for a number of reasons including the development of buzzes, rattles, squeaks etc. and a poor quality cabinet, close up, doesn't look good.Size: String Length, Soundboard AreaSubject to equivalent or superior quality in all areas, bigger pianos are better. The larger frame (iron plate) accommodates longer strings with superior and smoother scaling between registers. The frame is fitted to the front of the soundboard, which also benefits from the size. A bigger piano may produce a better tone, but be sure that the design and condition (and, if used, wear) of the mechanical components (keyboard, action, hammers) is not compromised against a smaller piano of the same price.Consistency is importantA piano with a delightful 'sweet spot' or 'really good bass' is not so good if the rest is quite average. The tonal pronunciation of each note must be consistent. The touch must also be consistent in repetition, response and expression. Be aware that many pianos of all prices can sound very different from an identical model. Therefore, you could be buying a 'below average' example. Pay a deposit, rather than in full, on a piano you order if it is not in stock in the chosen finish. Ask to see the piano to test its characteristics prior to delivery and final payment. However, some advanced manufacturers are producing pianos with excellent factory output consistency. Subject to equal preparation, two new pianos of the same model by the likes of Yamaha can sound very similar indeed.Aesthetics: Style of Cabinet, Choice of FinishesA very large item in your home or institution - so looks are important. This is not always the main factor in making the piano right for you, but it does matter to some more than others. Many prefer a good solid looking instrument and others prefer the small, modern style pianos for something a little more discrete. Size does matter, and smaller pianos often lack depth, bass and dynamic range.The End Result: How the piano performs altogether.You could know everything about every piano on the market, but that won't change the 'end result'. The way the piano actually performs in tone, touch and the way it looks are what make the piano your choice. Just ensure that you feel entirely confident that the above factors have been satisfied and you should be with the right piano.For more information, visit www.grademusictutors.comor www.grademusictutors.blogspot.com Mon, 22 Mar 2010 18:09:09 +0100 http://icsn.co.uk/forums/view_topic.php?pid=155#155 155@http://icsn.co.uk/forums Topic: How to choose the right Piano/instrumental teacher Message: If you are arranging a lesson for yourself or for a child, take all the same precautions that you would normally observe when meeting any stranger. The first step should always be a telephone call where youmake a straightforward assessment of the prospective teacher. Don't be afraid to ask the following questions:1. How many pupils do you teach at the moment and would you mind if I spoke tothem about the service that you offer?2. How long have you been teaching? Do you have a referee for your servicesthat you could suggest?3. If you were to teach my child, may I attend the lessons? OR May I bring afriend with me to my lessons?4. Do you offer a consultation lesson prior to any financial arrangements?2. Make sure that any arrangements you make are made on fair and even terms, in general it is unlikely that any responsible teacher would object to any of the questions above. Some teachers may indeed insist on a chaperone to be present at all times when teaching minors.3. It's good to talk! Negotiation with teachers by email is strongly discouraged and it is by far and away, better to pick up the telephone. The spoken word is easily the best first step in establishing confidence on both sides. Don't make arrangements for you, your child or your money with an individual you only correspond with by email. You will be at risk.4. Don't be afraid to pursue references and ecommendations since for good teachers, these will only prove helpful and supportive. You may need to do this after your first consultation before making any further arrangement. Be completely open about doing this; no responsible teacher will mind you making such checks.5. When you finally meet your prospective teacher, preferably at an obligation-free consultation, be clear about what service you need and direct the consultation so that your questions are answered. Music tuition is often a long-term commitment and a good teacher-pupil relationship is so valuable and so fruitful that a little care and attention in making a good decision is well worthwhile.6. To get a fuller picture of the style of tuition offered, you might ask some of thefollowing questions:1. What is your approach to instrumental technique?2. What repertoire do you encourage your pupils to study and why?3. How do you teach theory?4. Do you prepare your pupils for examination, such as the Associated Board ofthe Royal Schools of Music?5. How do you teach general musicianship and music appreciation?6. How do you develop sight-reading skills in your pupils?7. Do you encourage your pupils to seek regular opportunities to perform inpublic, such as in festivals, competitions and private recitals?8. Do you encourage your pupils to play inensembles?9. What do you expect of your pupils?10. Do you give progress reports on your pupils?11. Do you make notes for your pupils during lessons?12. What is your professional background?13. What qualifications do you have?7. Be sure about the service that you want for yourself or your child. Remember that ateacher will be interested to learn about the full extent of your musical interests, your aspirations and preparedness to take on the commitment that learning a musical instrument requires. The more open you are about your expectations and interests, the more useful the consultation will be.8. Don't feel obliged to make a decision there and then. You may need to make more than one approach before you meet the teacher for you.9. When you do make an financial arrangement with a teacher, be clear about the fees being charged and how and when they are to be paid. You should also ask if the teacher has a cancellation policy and who should be responsible for thepurchase of materials and sheet music.10. If you have arranged tuition for your child, you should continue to take a close interest in the progress being made. Make an effort to sit in on lessons regularly enough to be sure of how tutorial time is spent. It is often very helpful to teachers to have the opportunity to discuss how your child's skills are developing.Never leave your child with a relative stranger unless you are absolutely certain that this is an appropriate arrangement. If in doubt, sit in on the lesson!visit www.grademusictutors.comor www.grademusictutors.blogspot.com Sun, 14 Mar 2010 15:15:11 +0100 http://icsn.co.uk/forums/view_topic.php?pid=154#154 154@http://icsn.co.uk/forums Topic: Songwriting tips for musicians - writing quality songs Message: One of the most obvious but easily overlooked songwriting devices is the use of contrast. Most successful songs incorporate this technique and once you are familiar with the various ways in which you can achieve contrast, you can begin to incorporate it into your own writing. The purpose of contrast is to make each section of your song stand out and sound different from the other sections in your song. There are several ways you can do this both musically and lyrically. Creating MUSICAL Contrast: Musically, contrast can be achieved several ways: a. MELODICALLY. Try to make the melody higher in the chorus than the verse. It's a good practice to try to write your chorus in your highest comfortable range, giving you room to make the verse lower. b. RHYTHMICALLY. If the predominant rhythm for the verse melody is quarter notes, try making the chorus rhythm eighth notes. Even if you're solely a lyricist, you can build rhythmic contrast into your lyrics. A good example of a song that incorporates rhythmic contrast between two sections is the old standard, "Somewhere Over The Rainbow." c. HARMONICALLY. Try and change the chord progression between sections. An easy way to achieve this is simply by consciously choosing a different chord to start each section. For example, if your verse begins on a G chord, try starting your chorus on a C chord. Creating a LYRICAL Contrast. In a lyrical sense, contrast can also be achieved numerous ways: a. RHYME PATTERN. Change the pattern or placement of the rhymes between verse and chorus. Let's say, for example, your verse has an A-B-A-B rhyme pattern:•The sky above is blue        A •The ground below is green  B •When I look at you                 A •It's the prettiest sight I've ever seen BYou might try using an A-A-B-B pattern in the chorus. Remember, however, that whatever pattern you set up in the verse should remain consistent for all the verses. The same goes for your chorus• RHYME SOUNDS. Vary the primary vowel sounds of the rhymes throughout your song. For example, if you use a long "e" rhyme sound in your first two lines (be/see), use a different rhyme sound in your next two lines (light/night). • RHYTHM. Change the rhythm of the words between sections. If your verses have long lines with lots of syllables, you might try using short lines without a lot of syllables in your chorus. This will automatically create contrast when the lyrics are set to music.• PRONOUN EMPHASIS. If you are primarily talking about "I" and "me" in the verses, try emphasizing "you" in the chorus. You don't have to make use of every type of contrast in each song, but try to incorporate at least one type of musical contrast and one type of lyrical contrast. The trick is to keep the song interesting and contrast is a time proven technique for achieving this.visit www.grademusictutors.comor www.grademusictutors.blogspot.com Sun, 14 Mar 2010 15:08:14 +0100 http://icsn.co.uk/forums/view_topic.php?pid=153#153 153@http://icsn.co.uk/forums Topic: Beginners Piano Tips – The 7 Key Ways to Improve Your Piano Playing by Message: 1. Choose what you want and commit to it with the right attitude.Quite simply, you need find out what exactly you really want to achieve. Is it to play songs or pop tunes? Perform with others? Take exams and gain certificates for your own records? The commitment to this will come once you know what you want and it is a MUST for you.Getting your mindset right is probably the single most vital thing you will ever do as a beginner. Practicing because you have to (not want to) and just going through the motions will not get you anywhere. This approach nearly always leads to boredom, frustration and eventually giving up. What a shame that would be.2. Be realistic about what you wantAs much as you might have a goal/dream to play a concerto at Carnegie/Royal Albert Hall, you also need to honestly question if you have what it takes to achieve your goal. Often many people will say something along the lines of: “I want to play Madonna’s/The Beatles/Britney Spear’s greatest hits in my first year!” thinking it’s simple to replicate what the professionals do on TV. A more realistic aim might be to complete a series exercise books up to a certain level, e.g. ‘to get to book 4 in 10 months’. Family members and friends will be able to honestly tell you if you have any musicality, but it also helps to speak to musicians, whoever they may be and find out from them, what it takes to succeed, based on your own strengths and weaknesses.3. Set a date for when you want to achieve your goal Once you’ve settled on a realistic goal, you need to reckon how long it will take for you to achieve and what exactly it will take. Write the deadline down, have it in front of you when you practice and remind yourself exactly what you must do to achieve your goal. Also, having someone you are accountable to, who can monitor your progress to keep you from losing focus, is vital.  4. Commit to a practice scheduleIt is vital that you find a time that works for you and stick to it. The point of a schedule is to get into a routine and build momentum. Constantly changing your practice time means you’re at the mercy of other things that might be distracting.5. Focus on a few Things at a Time.Don’t try to learn everything all at once – it just won’t work. Break your practice down into simple to do-steps. It is better to focus on one or two areas, working on it repeatedly and becoming a master than to try and learn 10 different new things and only develop sketchy knowledge at best. When you start out on the piano, the way you will improve rapidly is to concentrate completely for every minute you set aside for practice and focus on improving those few things. This could be part of a piece, a new chord, a scale or anything you choose. Seeing this progress gives you a sense of achievement and will keep you motivated, energised and going through the session and the next.6. Work on improving your memory, posture and energy levelsThat’s right! Your brain is the other vital tool other than your hands. You can make fantastic progress by simply practicing memorisation exercises that will help you remember. Also, piano playing is generally quite sedentary and it’s not the best thing to sit perfectly still if you are practicing for an hour, for example. The way you carry yourself at the piano should always be upright or in a way which isn’t slouched, stooping, laid back or otherwise passive. Your physiology also affects how you reckon, feel and therefore work, so you should aim to keep your energy high by sitting up straight, flexing your arms & upper body now and again, and even standing up after an intense practice session. Also try not to frown when you encounter difficulties, as that subconsciously builds frustration.7. Don’t get place off by mistakesThis is a huge one and can be disheartening for many if their approach to problem solving is not right. Please, don’t worry about making mistakes. If you’re just beginning, reckon long and hard about some of the fantastic performers of any instrument. Reckon about how much effort they place into what you thought ‘looked simple’ when they performed on TV or live. If all they (or we for that matter) did was worry about making mistakes, they would never have achieved progress and thus, greatness in their chosen instrument. The rest of us also learning would live in constant dread!When you are learning a new piece of music for example, if you were to know in advance that you where going to make 34 mistakes before you could play the piece perfectly, would you worry about making these mistakes? Of course not!  I am guessing you would want to get these 34 mistakes out of the way quickly as possible. What this means is each mistake you make brings you closer to your goal. You progress by learning from mistakes, so expect them and be ready to deal with them. As long as your ear can recognise when you have made mistakes, you can right them and go on.Commit to doing these 7 things regularly and you’ll find learning the piano/keyboard more enjoyable.visit www.grademusictutors.com Sat, 13 Mar 2010 09:48:59 +0100